Urs Fischer at Gagosian Gallery, Rome

Headshots exploring Problem Paintings, and a Horse/Bed. These are the four subjects exposed by Swiss artist Urs Fischer at the Gagosian Gallery in Rome. In both the sculpture and the series of pictures the capital matter is how to capture time and make it last in something still – and the outcome is amazing. Using a combination of materials to finish his big photographic portraits, all dominated by eggs that are either perfectly whole or split open to expose their solid yolks, he opens on their surfaces a strong trompe l’oeil effect. As it’s not possible to represent time, he, at least, cuts a space between the dimensions of what one perceives and what one has indeed in front of his eyes. A different matter is the sculpture Horse/Bed, where Fischer probably paraphrased Salvador Dalì’s quote “Surrealism, it’s me!”. Theatrically placed at the centre of the big oval room of the gallery, a laser-made horse incorporates an hospital bed, standing perfectly erected on its paws. A small vase of colorful flowers, carefully positioned in the exhibition, enlivens the room, underscoring Fischer’s explorations with scale, perception, and art’s relationship to reality.

Urs Fischer, solo show, Gagosian Gallery, Rome, through November 9, 2013

Urs Fischer, Gagosian Gallery

Urs Fischer, Problem Painting, Gagosian Gallery, Rome
Milled alluminum, acrylic primer, plaster, acrylic ink, spray enamel, screen printing and acrylic paint

Urs Fischer, Gagosian Gallery

Urs Fischer, Horse/Bed, Gagosian Gallery, Rome
Milled alluminum, galvanized steel, screws, bolts,
two-component resin.

Urs Fischer, Gagosian Gallery

Urs Fischer, Gagosian Gallery, Rome

Discussion Un commento

  1. April 5, 2015 at 1:00 pm

    […] Drost Effect Magazine says “Using a combination of materials to finish his big photographic portraits, all dominated by eggs that are either perfectly whole or split open to expose their solid yolks, he opens on their surfaces a strong trompe l’oeil effect. As it’s not possible to represent time, he, at least, cuts a space between the dimensions of what one perceives and what one has indeed in front of his eyes” […]

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